HORS-CADRE X FOCUS FRANCE
For the tenth anniversary of Art Vilnius, HORS-CADRE offers to showcase the artworks of Clara Rivault and Nelson Pernisco. Despite different artistic and plastic researches, these two French artists answer each other on the importance granted to matter.
Engaged in a hand-to-hand with matter, both of them invoke opposing forces that end up compelling and oppressing themselves. In Objets spécifiques accouplés (“Specific Coupled Objects”), Clara Rivault puts together opposed yet inseparable objects. Either facing each other or side by side, they are forced to dialogue but not without a certain tension. These assemblages, forced to the point of discomfort, raise questions about the physical and psychological constraints that one experiences every day. The violence of the contemporary environment is also reflected in the work of Nelson Pernisco, whose response consists of burnt materials, compressions of objects and chaotic compositions in a destructive plasticity. His artworks Esperanto were made by throwing Molotov cocktails at blank protest posters glued to aluminum plates. It exhibits as much the marks due to the impacts of glass and the traces of smoke as the horizon of a new alliance of substance and form. The paper poster and its metal support become one. The fire consumes what brings it to life so much that it dies. Clara Rivault also demonstrates thats opposites can be combined to form unexpected alliances. In Le chant des soupirs (“The Song of Sighs”), the hand of a traditional glassblower from Meisenthal gently rotates, without stopping, on the edge of a crystal glass. The boorish, dirty finger contrasts with the fragility and purity of the crystal. From this antagonism emanates a disturbing sensuality as a song-like and hypnotic sound.
Not all the materials and objects transformed, created, sculpted by Clara Rivault and Nelson Pernisco are allegories of the violence and beauty of everyday life. They sometimes take on the role of relics or fragments of contemporary society. Besides her plastic and sculptural artworks, Clara Rivault also develops a very personal research based on memories of ancestors and fortuitous meetings; but it interferes with us by taking on tunes of collective stories, poems. La promesse d’une promesse (“The Promise of a Promise”), for example, is a pocket sculpture that can be manipulated. The bronze fingers, loosening and binding, intertwine with our fingers and the sectioned part is polished like a mirror. A tangible and mobile promise. Passing from hand to hand, pocket to pocket, this sculpture is alive. The weight of bronze represents the weight of a promise that one carries every day. For Yakusas, cutting a finger is a means of payment or reconciliation. Le commencement et la fin (“The beginning and the end”) is emblematic of Nelson Pernisco's dry aesthetic, sometimes brutalist, that relies on recycling poor and found materials, presented as touchstones of a world that may already be in ruins, and is at best under never-ending construction. Borrowed from the urban environment, from industrial properties or from the realm of technology, these fragments are used in his work to reflect the precariousness of time and the urgency of rethinking forms.